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SPECTROPOP - Spectacular! Retro! Pop!
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There are 25 messages in this issue.
Topics in this digest:
1. Re: The Lemon Pipers
From: JJ
2. Re: The Box Tops
From: Joe Nelson
3. Re: Duophony
From: Barry
4. Re: Eydie Gorme Goin' Back to musica
From: Keith Beach
5. Re: The Box Tops' Bitter End
From: Phil X Milstein
6. Re: Alice Wonder Land
From: Mick Patrick
7. Re: Duophony
From: Billy G Spradlin
8. Re: stories about the Spoonful, please
From: C Ponti
9. Lucecita Benitezīs Spector covers
From: Peter Andreasen
10. Re: Eve of Destruction
From: Mike Griffiths
11. Sonny Childe and me
From: Claire Francis
12. Re: Have Land Rover Discovery, will travel
From: Frank Murphy
13. "Goin' Back"
From: Norm D. Plume
14. Re: Alice Wonder Land
From: Hans Huss
15. Re: Alice Wonder Land (+ The Swans)
From: Hans Huss
16. Box Tops question
From: Sam Cooper
17. Re: Brian Hyland
From: Rodney Rawlings
18. Re: Michael Brown
From: Barry
19. Re: Mort Garson (G-Note)
From: Hans Huss
20. Re: Michael Brown
From: Dave Monroe
21. Re: Eve of Destruction
From: Joe Nelson
22. Manchester Playboys
From: Sean
23. Re: "Goin' Back"
From: Hans Huss
24. Re: stories about the Spoonful, please
From: Steve Harvey
25. the search for Johnny Flamingo
From: Phil X Milstein
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Message: 1
Date: Sun, 14 Nov 2004 14:35:21 -0000
From: JJ
Subject: Re: The Lemon Pipers
Gerry House wrote:
> I grew up in Cincinnati, Ohio. I used to go to the Round Table there in
> the '60s and see the Lemon Pipers. I've been to their website, but it's
> not been updated for quite a while. Any word on where they are?
I've just uploaded a cool promo photo of The Lemon Pipers to the Photos
section.
N-JOY!
JJ/Sweden
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Message: 2
Date: Sun, 14 Nov 2004 07:39:30 -0500
From: Joe Nelson
Subject: Re: The Box Tops
Bill Craig asked:
> Is it not true that even during their hit making period the touring Box
> Tops were rarely the recording Box Tops, as in Alex Chilton et al?
I believe it was Alex Chilton (and possibly other members of the group)
singing behind studio musicians.
Joe Nelson
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Message: 3
Date: Sun, 14 Nov 2004 07:39:19 -0600
From: Barry
Subject: Re: Duophony
Steve Harvey asked:
> What exactly was Duophonic Stereo? Was it a way of creating
> fake stereo by blocking some of the mono signals on either side?
It was merely Capitol's generic name for tracks electrically rechanneled
to simulate stereo.
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Message: 4
Date: Sun, 14 Nov 2004 08:04:29 -0800 (PST)
From: Keith Beach
Subject: Re: Eydie Gorme Goin' Back to musica
Country Paul wrote:
> I tried to like Eydie Gorme's "Goin' Back," but I'm afraid I find
> it totally soul-less.
I'm so glad someone said this first. So the story goes, Carole King held
back letting anyone record this song because it was so "personal" to her.
She decided to let Dusty Springfield record it after her successful version
of "Some Of Your Lovin'." Dusty sat on it for over a year (allegedly), and
when Carole heard it she cried. It was so perfectly what she hoped for.
Eydie's version (to my ears) is exactly what Carole was afraid of -- a
lifeless waste of a beautiful song. Is there any version that can truly
match or surpass Dusty's?
Keith Beach
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Message: 5
Date: Sun, 14 Nov 2004 13:41:22 -0500
From: Phil X Milstein
Subject: Re: The Box Tops' Bitter End
Bill Craig wrote:
> Is it not true that even during their hit making period the touring
> Boxtops were rarely the recording Boxtops, as in Alex Chilton et al?
It wouldn't surprise me if that were the case. I have a video clip of
The Box Tops appearing on the Live At The Bitter End TV show. On the
first song, "The Letter," they can barely play, creating a sound as thin
as a piece of paper. Next, and without taking a break, they begin
lip-syncing to their ("their") recording of "Neon Rainbow," on which
they sound, as we're all aware, magnificent. It's striking that they
would agree to perform in this fashion, as not only does it make for
jarring television but also exposes their abilities most nakedly.
The Bitter End show, though, is notable for its strange mixes of live
music with lip-syncing. I've also seen Neil Diamond do double-duty in
this manner, although with a commercial break in between, and sounding
quite professional while playing solo live, and The Stone Poneys, who,
on their live tracks, sound even lamer than The Box Tops. Perhaps the
show used lip-syncing only to promote the artist's current release.
--Phil M.
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Message: 6
Date: Sun, 14 Nov 2004 20:52:24 -0000
From: Mick Patrick
Subject: Re: Alice Wonder Land
Dancing Time:
> Would anyone on the list know if the Alice Wonder Land who
> recorded 'It Was Only A Dream' / 'My Joey' on United International
> Records 1001 is the same artist who had the great 'He's Mine
> (I Love Him, I Love Him, I Love Him)' on Bardell, and, as Marie
> Antoinette, 'He's My Dream Boy' on Providence? Her real name
> supposedly was Alice Faye Henderson.
I've never heard the Alice Wonder Land 45 on United International, but I'd
sure like to. Perhaps you could post it to musica for us all to listen to? I
think the record dates from late '62 or early '63, btw.
While we're on the subject, does anyone out there have a copy of her
"He's Mine" follow-up, "Red 'N' Yella Beach Umbrella" (Bardell 775, 1963)?
I believe the Bardell label was owned by Bob Yorey.
Also recommended: the British cover version of "He's Mine", rendered as
"She's Mine" by the fabulous Chants on Pye. Tony Hatch produced it. The
Swans' recording of the song ain't bad either. All three versions are out on
CD, but you knew that.
Hey la,
Mick Patrick
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Message: 7
Date: Mon, 15 Nov 2004 08:16:41 -0000
From: Billy G Spradlin
Subject: Re: Duophony
Joe Nelson wrote:
> Duophonic processing started with the most common means of faking
> stereo -- slashing the lows from one channel and the highs from the
> other -- and then further distorted the signal by delaying one of the
> channels by three-tenths of a second.
Capitol also added reverb on top of the extreme EQ and delay to many
of the Duophonic Beatles tracks on thier early albums. It's a shame that
RCA, EMI in the UK, and later Epic all copied the Duophonic technique
on most of their reprocessed tracks.
You can hear a taste of Duophonic on a 30-second sample of "I Want To
Hold Your Hand" from the "Capitol Albums" box set: http://tinyurl.com/3syw6
Billy
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Message: 8
Date: Mon, 15 Nov 2004 03:00:30 -0000
From: C Ponti
Subject: Re: stories about the Spoonful, please
Steve Harvey wrote:
> Down the road from my current abode is Frank Pingatore, Jodimar
> producer and writer of "Clarabella", who caught the Spoonful at Bell
> Sound Studios in the 60s. Said they were lowering a mike down the
> elevator shaft for echo. I think it was for "Summer In The City".
On "Summer In The City", the elevator shaft was used as echo, especially
on the crash after the instrumental intro (the half note "Bah-duh [crash]
bah-duh [crash]). That part was conceived by arranger Artie Shroeck.
Also, originally there was an huge crash at the end of the song. It was
kind of an apocalyptic joke, like the end of the world. It was edited off
in the final mix, maybe because the fade was so cool. Another fun part
of the session was auditioning car sounds. There was a library record
with various horns. The little VW sounding horn was settled on first,
as if a little car was competing with the second horn, which is more
"big American car". When more echo was needed, the call would go
up for "more shaft"!
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Message: 9
Date: Sun, 14 Nov 2004 21:18:19 -0000
From: Peter Andreasen
Subject: Lucecita Benitezīs Spector covers
I know that Lusecita Benitez did covers of "Then He Kissed Me" and "Be
My Baby" in the early/mid '60s. Does anybody know if these tracks are out
on CD?
Thanks,
Peter
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Message: 10
Date: Mon, 15 Nov 2004 03:30:43 -0000
From: Mike Griffiths
Subject: Re: Eve of Destruction
Joe Nelson wrote:
> The "Eve of Destruction" stereo mix is very peculiar: no center
> channel and Barry McGuire's voice on the left. ... Barry can be
> heard audibly grumbling just in mic range during the harp parts.
John Fox wrote:
> There are two things I've always noticed about the recording
> (probably the mono version). On the last chorus, there is clearly
> an overdub of one Barry McGuire singing "Tell me...," followed
> quickly by another Barry McGuire singing "... over and over and
> over and over again, my friend." ... Also, the harmonica solos
> between the last few verses cannot be played on one harmonica.
I e-mailed Phil (P.F.) Sloan with your questions and comments. His
response follows.
Mike Griffiths
------------
"Eve" was the last of three songs recorded on a three-hour date. Recorded
on a 4-track machine at Western Recorders Studio B, with Steve Barri and
myself producing. I was in the studio playing accoustic and electric guitar
overdubs as well as harmonica. I think I used a D and G harp for the song.
Barry was singing the lyrics I wrote on a piece of chicken-stained paper.
He could barely read the writing, so his vocal included a lot of "Uhs" and
speed-ups. As "Eve" wasn't even supposed to be published, it certainly wasn't
going to be listened to by the the label so we sped through it, giving it one
take. The next day the label listened to the session and decided to add female
backing singers to the songs to give them a more polished sound, and that
Barry's vocals could be fixed as well. We overdubbed the fourth "over and
over and over and over again" into the vocal track, and fixed some missed
words, but not too many. The original tracking of his first vocal for the most
part was essential, and I used that.
"Eve" became the B-side of Barrys first single, with "What Exactly's The
Matter With Me" being the A-side. As the label was interested in mono singles
only, there was not much attention paid to the stereo, as no one had thought
the single would be a hit.
As for the grumbling and rumbling, I left that in since there was no time or
money to do any real fixes, and in a mono mix no one would really hear it.
P. Sloan
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Message: 11
Date: Sun, 14 Nov 2004 10:23:17 EST
From: Claire Francis
Subject: Sonny Childe and me
I wrote:
> Sonny Childe is R.B. Greaves. He is also my ex-husband!
Phil M:
> I hope you weren't the wife he wasn't comin' home to, 'cause he had
> to start a new life ...
Claire writes:
To answer your question, you will have to go to my website and read my
bio. The answer is there @ http://www.clairefrancis.com
The blessing for me in finding Spectropop has inspired me to write my
songs again and my kids to build a website for me. The site is not
quite done. I will let you peek at it now to read the answer to the
above question. Any comments has to come to me at my zenwoman1@aol.com
email as the email address in the website is being set up. There is a
lot more being put in the website, especially my current work. I will
let you all know when it is done.
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Message: 12
Date: Sun, 14 Nov 2004 16:02:17 +0000
From: Frank Murphy
Subject: Re: Have Land Rover Discovery, will travel
Mick Patrick wrote:
> Before anyone asks, those curious about the great piece of
> music featured in the UK TV ad for Land Rover's new Discovery,
> might care to check out this link: http://tinyurl.com/6w7nm
In the early days of the eighties Levis ads which featured sixties
soul tracks one could see the ad ditrectors and maybe their music
consultants being of an age which heard the music first time round.
However with the recent KFC "soul food" ads one knew that thet the
ad makers would not have been original sixties teenagers. Unlike
the Levis ads non of the singles made the charts but Frank Wilson,
Jackie Wilson, and Marlena Shaw became a bit more familiar to the
viewing public and somebody got a compilation out. I read an
interview with the director and he felt Northern Soul was familar
in musical structure and viewer friendly but as the records were
only known to Northern fans just that bit different enough to
attract attention.
Given that Land Rover Discoveries are bought by Middle class,
middle aged middle England person which is not teh usual image of
the UK Sonics fan.
Anyway it's a great record and very popular at the GoGo in Edinburgh
where I am DJ'ing on Friday night. I'll leave it to Angus A GoGo to
play it and I'll keep my recent remake of Have Love will Travel by
the Black Keys in its CD wallet.
I am typing this whilst Listening Again to Mark Lamarr's Alternative
Sixties on Radio 2.
If you head for http://www.bbc.co.uk/radio2 and hit Listen Again you
can join me. You'll find last night's olaylist here.
http://www.bbc.co.uk/radio2/shows/lamarrsaturday/playlist.shtml
Whilkst you are on Listen Again, Check Out The Sounds of the sixties
show. Here's one record Brian Matthew played yesterday morning.
'LYING AWAKE'
Artist: DANY CHANDELLE & THE LADYBIRDS
Album: DREAM BABES VOL.3
Label: RPM
written and produced by a Spectropopper.
The whole playlist is here
http://www.bbc.co.uk/radio2/shows/sounds60s/playlist.shtml
Frankm
reflections on northern soul Saturday's two thirty pm
http://www.radiomagnetic.com or listen to an archive show
http://www.radiomagnetic.com/archive/rnb.php
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Message: 13
Date: Mon, 15 Nov 2004 09:07:14 -0800 (PST)
From: Norm D. Plume
Subject: "Goin' Back"
Previously:
> Eydie (Gorme)'s version (to my ears) (of "Goiin' Back") is exactly
> what Carole (King) was afraid of -- a lifeless waste of a beautiful
> song. Is there any version that can truly match or surpass Dusty's?
I only know of one other version, by The Byrds, which is full of
jingle-jangle, soulful introspection. Maybe it doesn't surpass
Dusty's version but it's always been a great match, for my ears, and
the stand-out track on "The Notorious Byrd Brothers" album. The
second great track on that album is "Wasn't Born To Follow", another
Carole King song.
Does anyone know the story behind them doing two Carole King songs?
Was it anything to do with the producer, Gary Usher?
Norm D.
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Message: 14
Date: Sun, 14 Nov 2004 12:46:46 -0800 (PST)
From: Hans Huss
Subject: Re: Alice Wonder Land
I mentioned;
> Alice Wonder Land
Al Kooper replied:
> The Alice Wonderland tracks on Bardell were produced by Howard Farber
> & Steve Schlaks who produced the Kenny Dino hit Your Ma Said You Cried
> In Your Sleep Last Night. Hope this helps.
Thank you very much, every little bit of info counts! If anyone knows
anything else about the elusive Ms Wonder Land, I would love to know.
HH (dancing_time)
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Message: 15
Date: Mon, 15 Nov 2004 15:09:30 -0800 (PST)
From: Hans Huss
Subject: Re: Alice Wonder Land (+ The Swans)
Mick:
> Also recommended: the British cover version of "He's Mine",
> rendered as "She's Mine" by the fabulous Chants on Pye.
> Tony Hatch produced it. The Swans' recording of the song ain't
> bad either. All three versions are out on CD, but you knew that.
Thank you! The version by Liverpool's Chants is indeed excellent
- I believe their lead singer Eddie Amoo later formed Real Thing,
who scored with the lovely 'You To Me Are Everything' in 1976.
The one by the Swans is nice, too.
By the way, speaking of the Swans, there is another single by
this group (other than 'He's Mine' and 'The Boy With The Beatle
Hair') which is rarely listed. Titles are 'Indian Summer' and
'This Little Heart Of Mine', Kapp 488. Possible their first,
as it came out in 1962. The A-side is a dreamy version of the
Tommy Dorsey standard, not particularly exciting, but the flip,
which sounds vaguely familiar, is an uptempo original by producer
Billy Jackson (who co-wrote 'The Boy With The Beatle Hair', I
think) sporting some nice vocals.
> While we're on the subject, does anyone out there have a copy
> of her "He's Mine" follow-up, "Red 'N' Yella Beach Umbrella"
> (Bardell 775, 1963)? I believe the Bardell label was owned by
> Bob Yorey.
Wow! I had no idea there was a follow-up to 'He's Mine (I Love Him,
I Love Him. I Love Him)'. It must be frightfully scarce. And, yes,
I would love to hear it, too. A quick Google search netted a song
by the name 'A Red N Yella Beach Umbrella' by one Tommy Walters
(the year listed as 1963) but nothing by that name by Alice Wonder
Land. Didn't Bardell have a sister label called Angie? There is at
least one record by the Laddins (featuring the great Frankie Gearing)
- 'Push, Shake, Kick And Shout' - that came out on both labels
(Bardell 776 and Angie 1003).
HH (dancing_time)
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Message: 16
Date: Mon, 15 Nov 2004 18:01:42 -0500
From: Sam Cooper
Subject: Box Tops question
About 15 years ago, I did some musical things with a drummer/
singer named Rick Stevens. He claimed to have been with the
Box Tops as their drummer and then took over as the front man
when Alex Chilton left. I never really checked it out, but
since they've been mentioned a lot on the list lately, I thought
someone might be able to verify or deny. Haven't seen Rick in
many years, but he was a talented singer when I played and recorded
with him. As a matter of fact, we actually recorded a new demo
version of the great "Soul Deep" and he was spot on.
"a" Sam Cooper (not "the")
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Message: 17
Date: Thu, 11 Nov 2004 17:27:36 -0000
From: Rodney Rawlings
Subject: Re: Brian Hyland
previously:
> "On The East Side" (Brian Hyland album - UNI) ... Wonderful song,
> in the classic Shannon mold of unrequited love in a minor key.
Actually, from what I've seen, Del Shannon's typical song structure
seems to be with the verse in minor, and the chorus in the homonymous
major key.
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Message: 18
Date: Sat, 13 Nov 2004 08:20:45 -0600
From: Barry
Subject: Re: Michael Brown
Gerry House wrote:
> Also, I recently paid a fortune for the 2 CD set
> of The Left Banke. I haven't been able to find out
> whatever happened to Michael Brown.
Apparently Michael Brown was always something of a prima donna
from the beginning. Right after their second hit, "Pretty Ballerina",
Brown and his father Harry Lofofkofsky, their producer and manager,
got into a dispute with lead singer Steve Martin and the rest of
The Left Banke, and went off and recorded the excellent, though
uncommercial, "Ivy Ivy" b/w "And Suddenly" single, with Bert Sommer
on vocals, and issued it as The Left Banke (it flopped). And
although they got back together, the band was never the same.
I think he did about the same disappearing act with Stories after
their big hit too.
Barry
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Message: 19
Date: Mon, 15 Nov 2004 15:39:29 -0800 (PST)
From: Hans Huss
Subject: Re: Mort Garson (G-Note)
Claire Francis wrote:
> P.S. It was really great to see my old friend Mort Garson's
> name mentioned in regards to the Kane Triplets "Spanish Boy".
It may interest the list that Mort Garson wrote and produced a
very soulful 'girl group' record called 'Tomorrow Never Came'/
'Losing' by a great vocalist called Jean Brooks. It was released
on G-Note 2002 (circa 1963, by the sounds of it). 'Tomorrow' has
some "whirling" keyboard work at the beginning - not unlike 'Our
Day Will Come', I suppose, but this is not a dreamy-sounding track
at all but a dancer - and the flip features a great organ solo.
I presume G-Note (distributed by Rust) was Garson's own label as
G-Note 2001 is his own 'Bowl-a-Rama Stomp'/'The Stripper's Sister'.
I've seen another record listed on G-Note, 'Sweetly And Completely'/
'Autograph My Photograph' by Georgetta Banks (G-Note 1001, also
released on Dot 16716, in 1965), but I've never heard it.
Claire, perhaps you know about these records (and if indeed this
was Mort Garson's label)?
Best wishes,
HH (dancing_time)
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Message: 20
Date: Sun, 14 Nov 2004 08:47:48 -0800 (PST)
From: Dave Monroe
Subject: Re: Michael Brown
Gary Myers wrote:
> I have an email address for Robert Callili, co-writer
> of "Walk Away Renee". If you'd like, I can forward a
> message to him.
While you're at it, ask him if he's heard Sylvie Vartan's
recording of "WAR" ("Quand un amour renait"). Absolutely
gorgeous. Billy Bragg also recorded a strangely touching
version, a poignant and self-deprecatingly heartbreaking
narrative over a lovely acoustic guitar arrangemnet ...
Dave Monroe
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Message: 21
Date: Mon, 15 Nov 2004 12:42:45 -0500
From: Joe Nelson
Subject: Re: Eve of Destruction
Mike Griffiths channeling P.F. Sloan:
> "Eve" was the last of three songs recorded on a three-hour date.
> Recorded on a 4-track machine at Western Recorders Studio B, with
> Steve Barri and myself producing. I was in the studio playing
> acoustic and electric guitar overdubs as well as harmonica. I
> think I used a D and G harp for the song.
I saw a clip of Barry miming the song on the idiot box back in
the day, no guitar, one harp. Like I said, the mix suggested
Barry was doing the playing when he really wasn't, and the fact
it turns out to be a two harp solo (I guess he didn't know) is
all the proof you need.
Growing up in those days, I had no technical knowledge of music.
I thought it was great theatrics when Johnny Cash used to play
"Orange Blossom Special" with two or three harmonicas, switching
axes every time the chord changed. Now I understand what he was
doing, but it made no sense to me at the time.
This is why S'pop is so priceless - the six degrees of separation
factor that says if the person you're looking for isn't on the list,
someone who is will find that person real quick. Thanks again.
Joe Nelson
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Message: 22
Date: Mon, 15 Nov 2004 21:01:32 -0000
From: Sean
Subject: Manchester Playboys
Does anyone have a copy of the Manchester Playboys' "I Feel Good"?
If so, please contact me directly off-list, Thanks.
Sean
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Message: 23
Date: Mon, 15 Nov 2004 14:21:37 -0800 (PST)
From: Hans Huss
Subject: Re: "Goin' Back"
There is a beautiful version of 'Goin' Back' by Nils Lofgren,
on his eponymous 1975 A&M album. Piano rather than guitar driven,
it's very soulful and well worth checking out...
HH (dancing_time)
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Message: 24
Date: Mon, 15 Nov 2004 15:54:17 -0800 (PST)
From: Steve Harvey
Subject: Re: stories about the Spoonful, please
C Ponti:
> On "Summer In The City", the elevator shaft was used as echo,
> especially on the crash after the instrumental intro (the half
> note "Bah-duh [crash] bah-duh [crash]). That part was conceived
> by arranger Artie Shroeck.
That's the kinda stuff we dig around here. I have a single by Artie
on Columbia of "Coconut Grove".
Steve Harvey
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Message: 25
Date: Mon, 15 Nov 2004 17:22:02 +0000
From: Phil X Milstein
Subject: the search for Johnny Flamingo
Sunday's Observer had a really touching story on an English
writer's search for his unknown daddy, who turned out to be
L.A. doo-wop star Johnny Flamingo. Get a box of hankies ready,
then check out
http://observer.guardian.co.uk/omm/story/0,13887,1347716,00.html
--Phil M.
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SPECTROPOP - Spectacular! Retro! Pop!
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